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stravinsky last won the day on November 19 2013

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  1. I love this theory. Especially in light of the fact that I found this last score disappointing (perhaps Williams just wasn't inspired enough by the execrable movie). I was hoping for at least one stand out theme. The others are forgettable. Flaccid almost. A real shame. It would be great if Williams had indeed written this Sith Trooper Fanfare. However was it not unequivocally established that another composer wrote it? Whoever did it is a master of imitation.
  2. I don't know long that must have taken you to programme it all in but this is fantastic music for a Chase Scene. Great pastiche of Williams. Well done mate. Impressed.
  3. To think that wonderful Fortress of Solitude music lay buried in a vault for 40 years. Its wonderful music. Full of wonder. As is the first few minutes of the Prelude before the main title. Enchanting. This is one of my top 5 favourite scores from the master. Pure gold.
  4. Hello can anyone tell me if the previously unreleased tracks on Disc #1 of Inferno are now true Stereo even if they were built up from Mono sources? Would they have been created the same way the scores for Jaws and Earthquake were assembled? I mean from separate Mono stems now remixed to Stereo? Because they sound Stereo to me. Track 19 has no asterisk beside indicating it is Stereo whilst the fantastic track which follows it (Out of the Shaft) does have an asterisk. I'm confused. Would the treatment of these Mono tracks be similar to the way old LPs in the 70s presented Mono as "Fake Stereo?
  5. Poseidon sounds great. The best it can possibly sound considering Mattesino was working with the original tapes. I believe he also had other sources to work with incl material from the Irwin Allen Estate and he has worked wonders. I've always loved the score for Poseidon cos it's so dark. A friend said he hardly played the old FSM disc because it did sound tinny. Well its not tinny now. Even the two partial Mono tracks sound fine. You'll hear the sonic improvement in my favourite moment from the score which is a phobic section from 1:53 - 2:38 in track 15 "Hold your Breath" with beautiful low Harps Bassoons and Bass Clarinets. Inferno sounds equally magic. One of my favourite tracks of the whole score (which was relegated with a few other damaged tracks to the end of the old FSM disc) "Departmental Pride and the Cat' is now pristine. Strangely I'm kind of disappointed with the thrilling Main Title on Disc 1 which I think must be my favourite opening track of any Williams score. It sounds good but not that much better than the old release. I guess the recording set up. In the 20th Century Fox studios (?) was a bit dry. Still there's an alternate Main Title on Disc 2 which I haven't heard yet so am hoping the sonics are as good with that as the stellar sound of the rest of the main score. Also kind of wish Lalaland had moved the early lounge tracks to the source music section of Disc 2. Lastly the first "Mono" source cue I've heard (and one of the handful of lost cues making their debut here) doesn't sound Mono at all. Sounds totally brilliant. There's a previously unreleased "Mono" track #20 "Out of the Shaft" on the main score on Disc 1. Its wonderful and just the kind of thing I was hoping for with this new release. Just that thrilling mid 70s sense of wonder when you are a kid going to the pictures to see a Hollywood movie. The mystique of the American dream. How do they do it Martin? Or rather how did they do it? Cos its gone now. Finished.
  6. I've just been re-reading this topic. May I ask something? And forgive me if the matter has been discussed already. Whilst listening to the various fascinating ciphers inside what must be Williams' Magnum Opus, I noticed again the extended solo Flute dialogue with Pizzicati strings from 08:40 - 09:10 at Track 9 - "Carbon Freeze/Darth Vader's Trap/Departure of Boba Fett" on Disc 2. I've always been convinced that the old RSO double LP of Empire presented this small section of the score in a proper mix because on the 1997 Special Edition Reissue one can hardly hear the Flute in this mix and it sounds as if channels are reversed or something. Could this be something that perhaps Mr Matessino may rectify if and when he ever tackles the mammoth task of issuing completely new sets for the three trilogies?
  7. Hello I seek one ticket for the Williams concert in Vienna. Can anyone help?preferably for the Afternoon concert but will take whatever is going. Cheers Raymond
  8. Ach I've miss the boat as its a, waiting list only. Probably sold out months ago. Bummer because I have that weekend off. Canny be helped.
  9. I know this is a, daft question but could someone give me timestamps of the five new themes. If indeed there are actually five? I like the tiny Horn statement in the Prologue (at 0:33) which reminds me of a small motif which occurs throughout the score for The Empire Strikes Back. You know the one I mean? I can't remember what its called. Another great Horn moment on "The Journey to Exegol" at 0:09 which I wish was a theme but it probably isn't because I can't hear it anywhere else. I guess it's just a development of the "Anthem of Evil" material? Horns yet again at 2:28 in the concert suite "The Rise of Skywalker" offer a lovely little idea that I know must be part of the actual underscore because it appears on the FYC sampler. I went to see a triple bill last night at Cineworld Renfrew Street in Glasgow, Scotland with my good friend Martin (who is the only physical contact I've found from the forums and we are firm friends now). I stayed only for Episodes VII and VIII because it'll be my last opportunity to see them on the big screen. I didnt fancy sitting in the same chair until 2:30 am so I have yet to see Episode IX. What is great is the experience of watching these movies on the big screen with the dazzling sound projected from multiple speakers (a little too loud) and I'm guessing this wrap around sound thing started back in the day with "Sensurround". In addition I'm guessing the Trumpet idea in "The Speeder Chase" is just a one off right? Would be great if it appears somewhere else. Finally can we expect a repeat of the situation with the score for The Last Jedi when the complete score was released online?
  10. Exactly! Couldn't have said it better myself mate. The thing about Williams' music (like Bruckner or Mahler or any other gas giant) is that I find it diffucult to memorise the material straight away. After about a week of constant playing something like this very last Star Wars score the pennies finally start dropping and the process of recognition begins. And what a wonderful process of discovery. Often a motif that sounds like something humdrum suddenly takes on new meaning. It's a bit like discovering a new Mozart String 4tet or delving into Bruckner's 5th Symphony (which only revealed its deep majesty after about the 30th hearing) . This is testament to the terrifying passion and sheer metaphysical weight of Williams writing. As far as I'm concerned he is up there with some of the greatest composers in history. As far as movie music is concerned Williams is the daddy of them all.
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